LOG IN REGISTER SUBSCRIBE SHOP HELP 0 items Search

SOUND ON SOUND
NEW S FORUM MAGAZINE REVIEW S TECHNIQUES PEOPLE SOUND ADVICE MUSIC BUSINESS

HOME > TECHNIQUES >

In this article...
Top Brass: Part 1 Introduction
Brass Tactics
Arranging For Brass Instrumentation
Patch It Up
Composing / Arranging / Songwriting Mixing / Production Punctuation
By Dave Stewart Published May 2015 Short Melodic Phrases
Strong Melodic Statements
This new four-part series explains all you need to know about creating brass Adding A Lower Part
arrangements for a range of genres. Scary Quant
Assembling The Elements
In the ephemeral, here-today, gone-tomorrow world of popular music, it’s good to know Retro Versus New
there are certain long-standing ingredients which have stood the test of time. One such Instrument Ranges
enduring feature is the classic pop/soul brass arrangement, a musical item that has Brass In Your DAW
maintained its relevance, hip-ness and appeal for over half a century. 20 Classic Brass Arrangements

Though I’m not here to teach history, it’s

In this Series
worth bearing in mind that many of the key
features of contemporary brass arranging are Top Brass: Part 1
based on a musical roadmap established in Top Brass: Part 2
the 1960s. By the middle of that decade the Top Brass: Part 3
Top Brass: Part 4
US soul scene was in full swing, and the
charts were jammed with trailblazing tracks
by artists such as Otis Redding, Wilson Pickett SOS Competitions
and James Brown. Take a look at the ‘20 WIN! Virtual SSL Studio
Classic Brass Arrangements’ box and you’ll WIN! Cranborne Audio EC1 Preamp & CAST
see a chronological list of records from this This Kontakt multi uses two solo instruments from the System
period which have been highly influential in Chris Hein Horns Vol. 2 sample library. A trumpet
shaping the development of pop brass sustains patch is layered with a staccato trumpet to
strengthen the attack. With both patches set on the Readers' Ads
arrangement.
same MIDI channel, played short notes produce a
staccato effect, while longer notes trigger a sustained VIEW ALL ADS CREATE FREE AD
Note that I’m using the word ‘pop’ in its widest sound with a strong attack. In this multi, the same
sense, meaning the broad sweep of popular technique is applied to a solo tenor saxophone
music (as opposed to classical, opera, (operating on a different MIDI channel from the On the same subject
Armenian bagpipe music or Tuvan throat- trumpet patches).
How I Got That Sound: Richard Chycki
singing). That obviously covers a huge number of genres, but the ones in which you’re most November 2022
likely to find soul-based brass nowadays are contemporary R&B, funk, Latin, urban, rap, hip- Jean-Michel Jarre: Producing Oxymore
hop, ska, reggae, blues rock and mainstream pop (apologies for any styles I’ve inadvertently November 2022
left out). Having said that, I’m not a big fan of musical categorisation, so if you want to add Ricky Reed: Producing Lizzo
November 2022
some funky brass to a traditional Tuvan throat-singing piece, go for it — and the best of luck
Setting Up An Atmos Mixing Room
to you! November 2022
Inside Track: David Guetta & Bebe Rexha 'I'm
Brass Tactics Good (Blue)'
November 2022
In this article I’ll explain some of the basic musical ideas which crop up in pop brass
arrangements, with a view to encouraging you to create hands-on arrangements of your SIGN UP TO
own. For the benefit of those who don’t read music, we’ve included a Logic Pro piano-roll SOS NEWSLETTERS
screenshot with each musical example. Those who can read music should remember that a
dot written over the top of an eighth note indicates it should be played as a 16th note (this
avoids writing in lots of fiddly rests).

Unless you’re in that small minority of musicians who can write out charts and pay session
players to record them, you’ll need certain tools to help you: namely, a DAW or hardware
sequencer, some decent brass sounds (see the ‘Patch It Up’ section below) and a MIDI
keyboard on which to play your ideas. If you don’t play keyboard, a MIDI guitar or wind
controller will do, though note that the latter can only play single lines, not chords.

Some film and TV composers circumvent the keyboard issue by inputting notes directly on
their software sequencer’s score page. Although I’ve heard convincing orchestral mock-ups
which were created this way, I don’t recommend it for pop brass writing — this stuff relies,
to a large extent, on human feel, and so works best when
played on an instrument, rather than via a laboured series
of mouse clicks.
Latest SOS Videos
Playing devil’s advocate, there is another, less labour-
intensive way of going about the task: you could follow The
Prodigy’s and Sugababes’ lead and sample a brass
arrangement from an old record, as these acts did with
(respectively) ‘Stand Up’ (featuring the blasting, anthemic
instrumental break from Manfred Mann Chapter Three’s
‘One Way Glass’) and ‘Girls’, which makes liberal use of an
infuriatingly catchy horns lick from Ernie K-Doe’s ‘Here Come
The Girls’. However, unless you have a silver-tongued music-
biz lawyer and a pot of cash to appease the original rights The Secrets Of Spotify's Studio
holders, it’s best to avoid that route. 2 months 2 days ago.

A less legally perilous approach would be to buy a sample The saxophone is present by default
library of pre-recorded brass phrases and paste them over a in most pop/soul ‘horn’ sections,
backing track in your DAW. Though easy to do and whereas its presence in orchestral
superficially gratifying, that painting-by-numbers approach ensembles is more unusual.
lacks creativity and tends to put the cart before the horse — you end up trying to make your
track fit the phrases, rather than the other way round. Far better to use your imagination,
think of some brass riffs of your own and play them into your sequencer, even if you have to
do it one bar at a time, at half speed with one finger (no shame in that). At least that way
you won’t be regurgitating the same pre-recorded licks as everybody else!
Will Gregory: My Favourite Synths
Instrumentation 4 months 4 days ago.

Pop brass uses a different instrumentation and terminology from orchestral (‘classical’)
brass. In the pop world, trumpets, trombones and saxophones are intermingled, with all
instruments indiscriminately referred to as ‘horns’. In orchestral circles ‘horn’ means French
horn, that complicated, circular piece of plumbing with a large flared horn and protruding
mouthpiece. Some modern composers use saxophones in symphonic works, but a
traditional orchestral brass section contains only trumpets, trombones, French horns and
tubas. This critical difference marks the chief distinction between orchestral and pop brass:
lacking the distinctive, reedy, slightly raspy timbre of the saxophone, classical brass has a
pure, homogenous and refined tonal quality that has evolved over hundreds of years. By
contrast, a pop horn section is essentially a 20th-century invention which, due to the saxes,
Sound Design Using Filters | Podcast
2 months 4 weeks ago.
can produce a more fluid, complex, insinuating and sexy sound.

Contemporary brass line-ups vary in size from a single performer (usually a trumpet,
trombone or sax player) to five horns (trumpet, alto sax, tenor sax, trombone and baritone
sax). Instrumentation and section sizes vary: it’s not unusual to hear a single horn player
playing a jazzy solo over a track, while many bands feature just two players — typical
examples include trumpet and sax, trumpet and trombone, and two saxes. Trumpet, alto
and tenor sax trios are also common. The only rule we might apply here is to say that a
section of more than five players is veering into jazz big-band territory, which is something
I’ll look at later in this series.

Patch It Up
As a first step towards creating a brass arrangement, I’d suggest using a trumpet sound, for
the simple reason that a trumpet often plays the highest part in an arrangement, and it’s
this top line which connects with listeners and gives the arrangement its character. If you’re
using a keyboard or DAW virtual instrument as your sound source, try to find a plain-
sounding solo trumpet with a strong attack and a steady sustain. You may have to scroll
past dozens of weedy orchestral brass presets to find it, but hopefully there’ll be a trumpet
in there with the right energy, attitude and attack.

In addition to offering a selection of solo trumpets, today’s keyboard workstations usually

contain trumpet section patches of two or more players. For the purposes of sketching an
arrangement, it’s OK to use such a patch, providing the instruments within it are played in
unison (ie. all trumpets play the same note). You should avoid ‘pop horns’ presets which
feature a mix of different instruments, and never use patches with built-in octaves, as these
become horribly muddy when you build up chords and harmony lines. If you’re not sure
whether you’re hearing octaves, A/B the preset in question with a solo trumpet patch and
listen carefully for traces of a lower note underneath the main pitch. I would also
discourage the use of patches and samples with built-in chords, as they will stick out like a
sore thumb and prevent you from dreaming up your own chord voicings!
The alternative to working with a keyboard or DAW instrument is to use a sample library,
some examples of which I’ve listed in a box elsewhere in this article. While sampled
instruments have the potential to sound more realistic and professional than a synth patch,
they require more user effort. The first hurdle is navigating endless lists of patches to find a
simple, playable solo trumpet: pop brass sample libraries invariably offer a choice of
sustained notes and short staccato deliveries, as well as other styles with mysterious names
like ‘fall’, ‘shake’ or ‘doit’, which I’ll explain in a future article. To get started, a straight solo
trumpet sustains patch will do nicely.

While I’m on the subject of sample-based instruments, here’s a useful

tip: when working with samples, you can strengthen note attacks by
layering a staccato or marcato patch over a sustains patch. Set the
staccato and sustains patches to the same MIDI channel and
experiment with their relative volumes to get the ideal blend. (The trick
doesn’t always work, but with luck you’ll end up with an all-purpose
combi which you can use for both short and long notes.)

Punctuation
If you listen to some of the classic ’60s arrangements listed in the
aforementioned box, you’ll notice that the brass players don’t actually
play that much — having started the song with a strong melodic
statement, they often recede into the background and don’t re-emerge
till the middle instrumental break. When they do play, the parts are
often sparse and simple, leaving plenty of space for the vocal. Wayne
Examples 1 to 5. Don’t
Jackson of The Memphis Horns (a trumpet and sax duo who wrote and be fooled by the
performed the brass parts on many of the records in our list) summed simplicity of these
up the philosophy thus: “Don’t step on the singer.” single- and double-
note ‘baps’ — they can
Wise words. Thankfully, you can avoid this by keeping your brass be very effective.
arrangement nice and simple in the passages where the vocalist is
doing his or her thing: wait till the vocal line finishes (say, at the end of a chorus), then
throw in a loud, staccato single-note accent — bap! Congratulations — you just created your
first brass arrangement.

Other examples of this single-note rhythmic

punctuation are shown in examples two to
five. You can place the simple double-hits
accents shown in examples two and three
more or less anywhere in the bar, while four
and five are also good all-purpose rhythm
licks. As well as being the perfect way of
adding a musical ‘exclamation mark’ to the
end of a vocal line, such accented
interjections are concise enough to throw in Examples 6 to 7. Repeated-note phrases such as
behind a vocal without undue risk of these will grab the listener’s attention.
upstaging the singer. However, if you want
the brass to make a more attention-grabbing rhythmic statement, either of the repeated-
note phrases in examples six and seven would make a great, dramatic way of ending a
passage.

Short Melodic Phrases

We can extend this idea by introducing some melodic movement into our
rhythmic phrases: examples eight to 12 show five examples of short
melodic phrases, the last two of which introduce a held note at the end of
the riff. For these examples I’ve used the D-minor white-note scale of D, E,
F, G, A, B and C (example 13); for a tougher, more austere effect, you can
omit the E and B and use the D-minor pentatonic blues scale of D, F, G, A
and C (example 14). If you wish, you can add the extremely bluesy note of
A flat, traditionally used as a passing note to the adjacent pitches of A or
G.

Simple blues licks sound good on pop brass, a reminder of where the
underlying musical style came from — in fact, the blues scale is such a
familiar sound in this context, you can even throw in the odd minor-key
blues lick over a major chord without it sounding wrong!

You’ll notice in these examples that there are often spaces between the
notes, and that some phrases terminate before the end of the bar. These
spaces and rests are important: they define the rhythmic shape of Examples 8 to 12.
phrases, make space for other instruments and help emphasise the Five short melodic
riffs, the last two
contrast between long and short notes that is such a vital feature of brass featuring a held
writing. When creating an arrangement, you should pay as much note at the end.
attention to where you end notes as to where you start them, as this has a
significant impact on overall feel.

Strong Melodic Statements Example 13. D-minor white-note scale.

At some point in an arrangement, the horns
should step into the spotlight and cut loose —
otherwise, what’s the point of having them?
The great records of the soul era were bossed
by memorable brass melodies. As Wayne Example 14. D-minor pentatonic blues scale.
Jackson put it: “Maybe within the song, the
horns will get to make a statement so strong as to be unforgettable.” That was certainly the
case with ‘Knock On Wood’, ‘In The Midnight Hour’ and ‘Hold On I’m Comin’’, all of which
feature rousing, irresistibly catchy horn intros and middle eights.

If you want to turn the clock back and write a

brass break so stunningly melodic that
people will be queuing up to sample it for the
next 50 years, you should follow the golden Example 15. The D-major pentatonic scale of D, E, F#,
rule and keep it simple. As the old cliché A and B has a happy, homely and proclamatory
goes, less is more — rather than throwing in sound.
every note under the sun, you could restrict yourself to the D-major pentatonic scale of D, E,
F#, A and B (example 15), which has a happy, homely and proclamatory sound. Examples 16
and 17 are examples of strong melodic phrases created with this simple five-note major
scale.

Choosing the right scale for your melodies

obviously depends on the chords used in the
music, but since many tunes featuring pop
horns are based on simple, homogenous
Examples 16 and 17. These strong melodic phrases
chord sequences, it’s possible to write were created with the simple D-major pentatonic five-
melodies that stay on the same major or note major scale (see example 15).
minor scale throughout. This has parallels in
the rock world, where guitarists often repeat the same lick over a set of chord changes (with,
it has to be said, occasionally painful results).

The aforementioned song ‘One Way Glass’ is a good case in point: over a chord sequence of
(let’s say) D, C, G and D, the brass line sticks to a six-note major scale of D, E, F#, G, A and B
(no seventh is used). The glorious, largely pentatonic tune that emerges thus owes its
success not to a blizzard of jazzy notes, but to a strong, focused and deliberately simple
melodic statement with a great, catchy rhythm.

Adding A Lower Part

As mentioned earlier, many bands feature a
horn section of trumpet and tenor sax.
Despite its size, this economic line-up can
make a big sound, and that sound is easy to
achieve: we simply double the trumpet part
with a tenor sax playing an octave lower.
Being a physically larger, lower-pitched
instrument, the tenor sax would struggle to
play a melody up in the trumpet’s high
register, but bringing its part down an octave
Example 18. While the trumpet top line alternates
works a treat, adding beef, rasp, honk (and, between a minor and major third, the tenor sax below
for quieter passages, a breathy, velvety moves between a sixth and a flattened seventh.
timbre) to the trumpet’s pure, clarion tone.
The playing ranges of the trumpet and tenor saxophone are shown below.

In addition to beefing up the trumpet part, the tenor sax can add simple harmonies under a
top line. I’ll expand on this topic in next month’s article, but for now I’ll leave you with the
funky lick in example 18 — this quirky motif (which I always associate with James Brown) is
based on a flattened fifth (aka ‘tritone’) interval which rapidly oscillates up and down a
semitone. In this particular case (written in the key of A), the trumpet top line alternates
between a minor and major third (C & C#), while the tenor sax below moves between a sixth
and a flattened seventh (F# & G). You can invert the intervals so that the sixth and seventh
play the top line with the thirds placed underneath, as shown in example 19.

Scary Quant
When sequencing your brass parts I urge you
not to use quantisation (the automatic fixing
of notes to an exact timing grid). While it’s fine
for programmed drums, percussion, bass
lines and some rhythmic keyboard or synth
parts to be quantised, other elements in the
track need to maintain their natural human
timing, otherwise the whole thing will end up
sounding mechanical and computerised.

A downside to this naturalistic approach is Example 19. The intervals in example 18 can be
inverted, so that the sixth and seventh play the top
that obvious timing errors inevitably occur line with the thirds placed underneath.
from time to time. The way to deal with this is
to use your sequencer’s note editor to locate the offending notes and drag them back or
forwards in time, using small movements, until they feel right with the track. Don’t be fooled
into thinking that an event that lands exactly on the beat must be ‘right’ — quite often, a
slightly late entry helps create a relaxed feel, and notes played slightly before the beat can
add urgency and excitement. The secret here (if it can be called that) is not to rely on your
eyes, but to use your ears.

If you’re adjusting the timing of a chord, it’s good practice to preserve the relative position of
its component notes by highlighting them all and moving them as a unit — that way, you’ll
preserve the microscopic timing differences between pitches that occur naturally in a
played chord. This may seem academic or nit-picking, but subtle micro-timing issues of this
kind have a cumulative effect on the overall rhythmic feel.

Assembling The Elements

To illustrate how the various accented interjections, rhythmic phrases and melody lines
outlined above can be combined into a coherent whole, I created the brass arrangement
shown in example 20 — it’s in the key of D, uses a tempo of 115bpm and is based on a
simple 12-bar sequence, like the chorus of Duffy’s 2008 single ‘Mercy’ (and before that,
countless blues tunes stretching back to the dawn of time).

I’ve deliberately gone for a retro feel in this

arrangement to demonstrate how classic soul
licks can be strung together. A contemporary
arrangement would probably focus more on
syncopated rhythmic figures at the expense
of the melodic material — this stylistic shift
reflects the evolution of sixties soul into the
more 16th-note based, 1970s funk styles that
persist to the present day. This mini-
composition works well with trumpet playing Example 20. This retro-flavoured 12-bar brass
the top line and tenor sax doubling the same arrangement in the key of D shows how accented
part an octave lower (except for the chords in interjections, rhythmic phrases and melody lines can
bars six, nine, 10 and 12, where the sax plays be combined into a coherent whole. A trumpet plays
the top line, with tenor sax doubling the trumpet part
the lower harmonies). an octave lower (except for the chords in bars 6, 9, 10
and 12, where the sax plays the lower harmonies).
I’ve written in the chord changes where they
occur — note that although these chords are nominally major, the brass line frequently
features a minor third (F), which creates some harmonic tension and a nice bluesy feel. The
arrangement starts out in time-honoured fashion with a strong melodic statement —
hopefully you’ll also recognise some of the other musical ideas outlined above in there!

Retro Versus New

It may seem contradictory that I stress the need for original, creative musical thought while
simultaneously banging on about brass styles dating back half a century, but please bear
with me — as I said at the start of the article, rather than being forgotten artifacts long ago
swept away by the tides of time, the historic musical precepts of pop brass live on in
modern arrangements, sound as cool as ever, and maintain a vital link with the past which
it would be foolish to ignore.
Please also understand that this article is intended as a primer: in the same way that you’d
learn a handful of chords and some basic scales on an instrument and jam on a 12-bar
blues before launching into a complicated jazz chart, the simple musical examples above
are intended as starting points from which you can hopefully go on to build your own
arrangements. Put another way, you have to learn to walk before you can run, and I hope
this helps to provide a modicum of upright forward motion!

Next month I’ll introduce the lower brass instruments, investigate the wonderful world of
funk, talk about how to construct chords for bigger brass line-ups, take a look at the role of
keyswitches in brass sample libraries and examine ways of adding expression and realism
to synth brass patches and sampled brass instruments. I’ll also give some tips on how guitar
players, bassists, keyboard players and drummers can adapt their parts in order to
integrate successfully with a horn section in a band setting.

Instrument Ranges
Although synth patches and samples
don’t have to replicate the limitations of
real-life instruments, it helps to have a
working knowledge of their playable
pitch ranges — and, of course, if you’re
hiring real players, knowing their
instruments’ ranges is essential! Below are the playing ranges of a Bb trumpet and
tenor saxophone, often heard playing together in brass arrangements. Middle C (C4)
is marked in blue. (Trumpets are made in a variety of models that play in different
keys: although the trumpet in C crops up in orchestral scores, the model ubiquitous in
pop and jazz circles is the trumpet in Bb.)

These ranges are not hard limits: good players can produce higher and lower notes
but, generally speaking, the extreme high and low end of instruments’ registers tend
to sound strained, with a resulting diminution of musical quality and usefulness.

Brass In Your DAW

When looking for ‘pop’ brass sounds to use in your DAW, try to steer clear of orchestral
libraries. Although some contain playing styles that can work in a pop context, their
deliveries generally lack the gutsy, uninhibited attitude required for pop, and their
instrumentation and articulation menus are likely to contain significant omissions.
Below are some of the better brass libraries and instruments that feature
keyswitchable playing styles optimised for pop, soul, R&B, funk and jazz big band.
They’ve all been well received by the sampling community, and with intelligent
programming will add realism and colour to your horn charts. (SOS reviews in
brackets).

Sample Instruments

Chris Hein Horns Vols. 1-4

Big Fish Audio First Call Horns (http://sosm.ag/big-fish-firstcall-horns)
Big Fish Audio Vintage Horns
Fable Sounds Broadway Big Band (http://sosm.ag/fablesounds-broadway)
Vir2 Instruments Mojo Horn Section (http://sosm.ag/vir2-mojo-horns)
Native Instruments Session Horns (http://sosm.ag/ni-session-horns)

Modelled Instruments

Sample Modelling offer an impressive range of solo instruments, including Trumpet,

Trombone and various saxophones (http://sosm.ag/sample-modelling-trumpet and
http://sosm.ag/sample-modelling-solo-wind-brass).

Phrase Libaries

I’m not a great advocate of pre-recorded phrases, but recommend the Memphis Horns
sample library (http://sosm.ag/memphis-horns), created by Wayne Jackson (trumpet)
and Andrew Love (tenor sax). Recorded by the guys who defined the style, this
comprehensive lexicon of soul brass licks has the advantage of total authenticity, and
it’s also a great educational resource.

20 Classic Brass Arrangements

 Here’s a ‘top 20’ of records dating back to the mid-1960s that feature iconic brass
arrangements. Often dreamed up on the spot by the players at the recording session,
these deceptively simple, but highly catchy, horn parts defined a musical template
that persists to the present day. These tracks are recommended listening for all
would-be brass arrangers, and for fans of the golden age of soul!

1. ‘Dancing In The Street’ (Martha & The Vandellas) 1964

2. ‘Papa’s Got A Brand New Bag’ (James Brown) 1965

3. ‘In The Midnight Hour’ (Wilson Pickett) 1965

4. ‘I Can’t Turn You Loose’ (Otis Redding) 1965

5. ‘I Got You (I Feel Good)’ (James Brown) 1965

6. ‘Rescue Me’ (Fontella Bass) 1965

7. ‘Uptight (Everything’s Alright)’ (Stevie Wonder) 1965

8. ‘Hold On I’m Comin’’ (Sam & Dave) 1966

9. ‘Land Of 1000 Dances’ (Wilson Pickett) 1966

10. ‘Knock On Wood’ (Eddie Floyd) 1966

11. ‘Road Runner’ (Junior Walker & the All Stars) 1966

12 ‘Mustang Sally’ (Wilson Pickett) 1966

13. ‘Respect’ (Aretha Franklin) 1967

14. ‘Soul Man’ (Sam & Dave) 1967

15. ‘Tell Mama’ (Etta James) 1967

16. ‘Dance To The Music’ (Sly & the Family Stone) 1967

17. ‘Hard to Handle’ (Otis Redding) 1968

18. ‘It’s Your Thing’ (The Isley Brothers) 1969

19. ‘Vehicle’ (The Ides Of March) 1970

20. ‘Move On Up’ (Curtis Mayfield) 1970

If you can find it online, check out the rampaging version of ‘I Can’t Turn You Loose’ on
the 1966 UK TV show ‘Ready Steady Go’!

Article Overview
Part 1:  This four-part series explains all you need to know about creating brass
arrangements for a range of genres.

Part 2: The second in our four-part series deconstructs funk licks, discusses the
implications of using live players and explains how to get more expression and feel
into your sampled brass arrangements.

Part 3: A simple, catchy tune with a funky rhythm may be all you need to create a
highly commercial horn hook — but harmony is also an essential ingredient in brass
arrangements.

Part 4: We conclude our series with an overview of arrangement techniques and a

peep into the world of big-band brass.

BUY PDF VERSION

Previous article Next article

New forum posts Active topics Recently active forums

Re: Surround monitoring considerations Tal Uno 62 Vintage House Soundpack-freeware Forum FAQs
blinddrew Recording: Gear & Techniques
Ways to make World Music Mixing, Mastering & Post Production
Mixing, Mastering & Post Production 25 Oct 2022, 14:58
Re: New desktop computer -> These component
Zilly
Windows Music
Re: ROGERS LS 3/5 vs GENELEC 1031
James Perrett
DIY Electronics & Studio Design
Re: Surround monitoring considerations
Jez Corbett
Mixing, Mastering & Post Production
Re: Ways to make World Music
Sam Inglis
Music Theory, Songwriting & Composition 25 Oct 2022, 14:16
Floyd Roses: Come onnnnn let's twist again! New Products & Industry News
Music Business
BugBrand Mac Music
25 Oct 2022, 14:42
Windows Music
Refurb PC recommendations
Apps & Other Computers/OS
Exquis - hex-layout isomorphic MPE midi contro Guitar Technology
25 Oct 2022, 14:37 Keyboards & Synthesis
AUM? DIY Electronics & Studio Design
Live Sound & Performance
Mono downmix clipping in cubase, confused!
25 Oct 2022, 14:22
Music Theory, Songwriting & Composition
VSTBuzz: 70% off “SSCS15D” by SyrinxSamples User Reviews
Remote Collaboration
Slow it down, reverse it, ad a bit of reverb. Self-Promotion
Feedback

Contact Us Cookie Policy Help Privacy Policy Terms of Use

All contents copyright © SOS Publications Group and/or its licensors, 1985-2022. All rights reserved.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the
prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can
be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.

Web site designed & maintained by PB Associates & SOS